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Post by blacky on Feb 3, 2010 5:11:34 GMT 10
There are several descriptions and relics that proclaim the importance of sound in both ceremony and structure. Researchers today are demonstrating that the properties of sound were explored, appreciated and used by our Palaeolithic ancestors in combination with their cave-art (see below). The results of modern research in the field of Sonics include 'sonic-levitation' and 'sonic crowd-control'. The power of sound has been demonstrated by opera singers who have been known, on occasion, to shatter glass simply by producing the correct sound. This effect was presumably already understood when the story of the shattering of the 'walls of Jericho' as written in the 'Old Testament': ... 'The 'Captain of the Host of the Lord' came to Joshua before he stormed Jericho and told him to 'circle the city for six days, and seven priests shall blow seven trumpets of rams horns, and on the seventh day, when you hear the trumpets, all the people shall shout with a great shout and the city shall fall down flat'.  The Ancient Use of Sonics. Sonics are commonly associated in tradition with the moving of heavy stones. A story was told by the local Aymara Indians to a Spanish traveller who visited Tiahuanaco shortly after the conquest spoke of the city's original foundation in the age of Chamac Pacha, or First Creation, long before the coming of the Incas. Its earliest inhabitants, they said, possessed supernatural powers, for which they were able miraculously to lift stones of off the ground, which "...were carried [from the mountain quarries] through the air to the sound of a trumpet". (1) Mayan legends says that the temple of Uxmal (below), in Mexico was built by a race of dwarves, which apparently only had to whistle and 'heavy rocks would move into place'. It is said that if a person stands at the base of the pyramid-like Temple of the magician and claps their hands the stone structure at the top produces a 'chirping sound' (1)  According to classical Greek writers, Thebes, the capital of Boeotia was founded by Cadmus, a celebrated Phoenician. It was finished off, the story goes, by a son of Jupiter named Amphion, who was able to move large stones to the sound of a lyre of harp, by which manner, he was able to construct the walls of Thebes. Appollonius Rhodius, who lived in the third century BC, poetically recalled in Argonautica how Amphion would sing loud and clear on his golden lyre' as 'rock twice as large followed his footsteps'. Tradition surrounding Cadmus clearly indicate that Thebes was founded by Phoenician migrants who must have settled there in the third or second millennium BC. Phoenicia's oldest known historian, Sanchaniatho, spoke of the god Ouranus or Coelus founding the first city at a place called Byblos. He also said that one of the gods 'Taautus' (the Egyptian Thoth), founded the Egyptian civilisation. He also states that Ouranus 'devised Baetulia, contriving stones that moved as having life' In the early 20th century, a Swedish doctor is reputed to have witnessed stone blocks 1.5 metres in length and a metre in height and width, being levitated through the air through the process of sound. (1) Examples of sympathetic vibrations in Prehistoric structures.  At least two structures at the Mayan ruins of Chichen Itza in Mexico display unusual and unexplained acoustical properties: The Great Ball-court: The Great Ball-court is 545 feet long and 225 feet wide overall. It has no vault, no continuity between the walls and is totally open to the sky. Each end has a raised "temple" area. A whisper from end can be heard clearly at the other end 500 feet away and through the length and breath of the court. The sound waves are unaffected by wind direction or time of day/night. Archaeologists engaged in the reconstruction noted that the sound transmission became stronger and clearer as they proceeded. In 1931 Leopold Stokowski spent 4 days at the site to determine the acoustic principals that could be applied to an open-air concert theatre he was designing. The Castillo: This structure is a temple that looks like a pyramid and is the one most commonly pictured on travel brochures for the Mexican Yucatan. Apparently if you stand facing the foot of the temple and shout the echo comes back as a piercing shriek. Also, a person standing on the top step can speak in a normal voice and be heard by those at ground level for some distance. This quality is also shared by another Mayan pyramid at Tikal. If a person stands at the bottom of the Castillo and shouts, the sound will echo as a shriek that comes from the top of the structure. If someone stands on top and speaks in a normal voice, they can be heard on the ground at a distance of 150 metres away. (1)  At Palenque, also in Mexico, it is apparently the case that if three people stand on top of the three pyramids, a three-way conversation can easily be held. It is said that if a person stands at the base of the pyramid-like Temple of the Magician and claps their hands the stone structure at the top produces a 'chirping sound' (1) 'Huygens serenade': A curious principle, discovered by Christiaan Hüygens in the 1650s. Huygens found that if you leave two clocks with pendulums ticking in close proximity for long enough, then they fall into perfect time, resulting in one hearing one bigger clock ticking. This is related to the low frequency of 1 cycle per second ( 1Hz ) frequency being experienced by both timepieces, and therefore being emitted, or radiated. The noise made by a clock is essentially a form of simple loudspeaker. The mass of it moves the air in such a way that you can hear a click. Because you can hear a click, then the same sound pressure is being applied to the case of the other clock just the same. BBC NEWS Article: April 1998. New research suggests that the ancient stone circles and burial mounds of north west Europe may have been designed to act as giant loudspeakers to amplify drums being played during rituals. Science correspondent David Whitehouse reports: Scattered across the landscape of north west Europe are prehistoric monuments from the Neolithic era. Stone circles like Stonehenge as well as covered burial chambers can be over 5,000 years old. The stones stand silent in the landscape but a new study of these ancient structures has found that they possess some remarkable acoustical properties. When Aaron Watson of Reading University visited a Neolithic stone circle in Scotland he noticed a curious echo which changed as he moved around inside the circle. Tests with audio recording equipment showed that the large, flat-sided stones were positioned in such a way to reflect sound towards the centre of the stone circle. But it is the Neolithic burial mounds that have the strangest properties. They usually consist of a long chamber which is reached by crawling through a small tunnel. 'I was amazed by these caverns,' said University of Reading physicist Dr David Keating. 'The caverns vary in size but their resonant frequencies are very similar. They would amplify a fast drumbeat producing enhanced sounds and echoes during rituals, he added. Dr Keating suggests that the caverns are designed to generate an acoustic phenomenon called Helmholtz resonance - the hollow type of sound created by blowing a stream of air across the top of an empty bottle. Calculations suggest that drumming at two beats a second would have caused resonance. Inside the dark chamber with its stale air and presence of the dead, the enhanced sound would have produced an unforgettable experience for Neolithic man. Ref: news.bbc.co.uk/2/hi/science/nature/72494.stmModern day experiments with acoustic vibrations . A glass has a natural resonance, a frequency at which it will vibrate easily, and the body of the glass vibrates under resonance. If the force making the glass vibrate is big enough, the size of the vibration will become so large that the glass breaks. (Click here for more about breaking glass: www.acoustics.salford.ac.uk/acoustics_info/glass/ The Physics of Sound Levitation: A basic acoustic levitator has two main parts: A transducer, which is a vibrating surface that makes sound, and a reflector. Often, the transducer and reflector have concave surfaces to help focus the sound. A sound wave travels away from the transducer and bounces off the reflector. Three basic properties of this travelling, reflecting wave help it to suspend objects in midair. Acoustic Levitation; A Summary science.howstuffworks.com/acoustic-levitation.htm Article: Scientists have now levitated small live animals using sounds... In the past, researchers at Northwestern Polytechnical University in Xi'an, China, used ultrasound fields to successfully levitate globs of the heaviest solid and liquid—iridium and mercury, respectively. The aim of their work is to learn how to manufacture everything from pharmaceuticals to alloys without the aid of containers. At times compounds are too corrosive for containers to hold, or they react with containers in other undesirable ways. "An interesting question is, 'What will happen if a living animal is put into the acoustic field?' Will it also be stably levitated?" researcher Wenjun Xie, a materials physicist at Northwestern Polytechnical University, told LiveScience. Xie and his colleagues employed an ultrasound emitter and reflector that generated a sound pressure field between them. The emitter produced roughly 20-millimeter-wavelength sounds, meaning it could in theory levitate objects half that wavelength or less. After the investigators got the ultrasound field going, they used tweezers to carefully place animals between the emitter and reflector. The scientists found they could float ants, beetles, spiders, ladybirds, bees, tadpoles and fish up to a little more than a third of an inch long in midair. When they levitated a fish and tadpole, the researchers added water to the ultrasound field every minute via syringe. The levitated ant tried crawling in the air and struggled to escape by rapidly flexing its legs, although it generally failed because its feet find little purchase in the air. The ladybug tried flying away but also failed when the field was too strong to break away from. The research team reported their findings online Nov. 20 in the journal Applied Physics Letters. Link to full article: www.livescience.com/technology/061129_acoustic_levitation.htmlCrowd Control: How the 'Sonic Cannon' Works: www.livescience.com/technology/090925-sonic-cannon-crowd-control.html The Hypogeum, Malta: The Hypogeum on Malta contains a 'speaking chamber' which is a hole in the wall carved with a rounded interior surface. The result is that anything spoken into it produces an echo which reverberates throughout the hypogeum. It is speculated that this hole was part of a ceremonial process. Several small chambers (right) in the Hypogeum are also suspected of being used for ritual purposes as from within these cubicles, echoes from the 'speaking' chamber reverberate into a rhythm that is similar to the human heartbeat.  Modern Myths of Accustic Levitation: Tibetan Monks levitating stones: (Excerpt from 'Anti-gravity and the World Grid' edited by D.H.Childress): A Swedish doctor, Dr. Jarl, a friend of Kjelsons, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later, it was 1939, Dr. Jarl made a journey to Egypt for the English Scientific Society. There he was seen by a messenger of his Tibetan friend, and urgently requested to come to Tibet to treat a high Lama. After Dr. Jarl got the leave he followed the messenger and arrived after a long journey by plane and Yak caravans, at the monastery, where the old Lama and his friend who was now holding a high position were now living. Dr. Jarl stayed there for some time, and because of his friendship with the Tibetans he learned a lot of things that other foreigners had no chance to hear about or observe. One day his friend took him to a place in the neighbourhood of the monastery and showed him a sloping meadow which was surrounded in the north west by high cliffs. In one of the rock walls, at a height of about 250 metres was a big hole which looked like the entrance to a cave. In front of this hole there was a platform on which the monks were building a rock wall. The only access to this platform was from the top of the cliff and the monks lowered themselves down with the help of ropes. In the middle of the meadow, about 250 metres from the cliff, was a polished slab of rock with a bowl like cavity in the centre. The bowl had a diameter of one metre and a depth of 15 centimetres. A block of stone was manoeuvred into this cavity by Yak oxen. The block was one metre wide and one and one half metres long. Then 19 musical instruments were set in an arc of 90 degrees at a distance of 63 metres from the stone slab. The radius of 63 metres was measured out accurately. The musical instruments consisted of 13 drums and 6 trumpets.(Ragdons) Eight drums had a cross-section of one metre, and a length of one and one half metres. Four drums were medium size with a cross-section of 0.7 metre and a length of one metre. The only small drum had a cross-section of 0.2 metres and a length of 0.3 metres. All the trumpets were the same size. They had a length of 3.12 metres and an opening of 0.3 metres. The big drums and all the trumpets were fixed on mounts which could be adjusted with staffs in the direction of the slab of stone. The big drums were made of 1mm thick sheet iron, and had a weight of 150kg. They were built in five sections. All the drums were open at one end, while the other end had a bottom of metal, on which the monks beat with big leather clubs. Behind each instrument was a row of monks. When the stone was in position the monk behind the small drum gave a signal to start the concert. The small drum had a very sharp sound, and could be heard even with the other instruments making a terrible din. All the monks were singing and chanting a prayer, slowly increasing the tempo of this unbelievable noise. During the first four minutes nothing happened, then as the speed of the drumming, and the noise, increased, the big stone block started to rock and sway, and suddenly it took off into the air with an increasing speed in the direction of the platform in front of the cave hole 250 metres high. After three minutes of ascent it landed on the platform. Continuously they brought new blocks to the meadow, and the monks using this method, transported 5 to 6 blocks per hour on a parabolic flight track approximately 500 metres long and 250 metres high. From time to time a stone split, and the monks moved the split stones away. Quite an unbelievable task. Dr. Jarl knew about the hurling of the stones. Tibetan experts like Linaver, Spalding and Huc had spoken about it, but they had never seen it. So Dr. Jarl was the first foreigner who had the opportunity to see this remarkable spectacle. Because he had the opinion in the beginning that he was the victim of mass-psychosis he made two films of the incident. The films showed exactly the same things that he had witnessed. Archaeo-acoustics: The term “archaeoacoustics” simply means the study of sound in archaeological contexts. We now know that sound was important to, and probably considered magical and mysterious by, people at least as far back as the Palaeolithic (Old Stone Age) painted caves of France and Spain, dating to tens of thousands of years ago. It has been found that some of the stalactites and stalagmites in them are musical, in that they will issue pure bell-, drum- or gong-like notes when struck. Some archaeologists refer to these musical calcite formations as “lithophones”. Most if not all of these relatively rare features had been painted with geometric signs and animal figures in Stone Age times, and they also display ancient percussion marks – so ancient, in fact, that they are visible only through a covering of calcite deposits. Currently, Russian and Finnish researchers are studying “palaeoacoustic” ringing rock sites on the shores of Lake Onega in Russia. They have found that the sound these natural stone “drums” make when struck is amplified by the surface of the lake, causing it to carry for kilometres around. The features are surrounded by concentrations of rock art. Similarly, archaeologists in the United States have identified “ringing rocks” – boulders that emit bell- or gong-like sounds when struck. Many of these, too, are marked with rock carvings. (2) Article: (New Scientist, p. 14, November 28, 1992) - 'The Acoustics Of Rock Art' S. Waller has visited rock art sites in Europe, North America, and Australia. Standing well back from the painted walls, he claps or creates percussion sounds, and records the echo's bouncing back. It turns out, that rock art seems to be placed intentionally where echo's are not only unusually loud but are also related to the pictured subject matter. Where hoofed animals are depicted, one easily evokes echo's of a running herd. If a person is drawn, the echo's of voices seem to emanate from the picture itself! "At open air sites with paintings, Waller found that echo's reverberate on average at a level 8 decibels above the level of the background. At sites without art the average was 3 decibels. In deep caves such as Lascaux and Font-de-Gaume in France, echo's in painted chambers produce sound levels of between 23 and 31 decibels. Deep cave walls painted with cats produce sounds from about 1 to 7 decibels. In contrast, surfaces without paint are 'totally flat'." (Dayton, Leigh; "Rock Art Evokes Beastly Echos of the Past," New Scientist, p. 14, November 28, 1992.) The Acoustic Qualities of the Stonehenge Bluestones: 'There is an intriguing aspect to the Preseli bluestones – a relatively high proportion of them (perhaps as much as ten percent) have the usually rare property of being “musical”. That is, they can ring like a bell or gong, or resound like a drum, when struck with a small hammer-stone, instead of the dull clunking sound rock-on-rock usually makes. That this property has been noted locally down the generations is shown by the “Maenclochog” (“Ringing stones”) village place-name in the Preseli area'. (2) |
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Post by brillbilly on Feb 5, 2010 1:10:22 GMT 10
great you got this thread going,facinating stuff blacky Tibetan Sound Levitation Of Large Stones Witnessed By Scientist ..  Excerpt from 'Anti-gravity and the World Grid' edited by D.H.Childress, ch.8, Acoustic levitation of stones by Bruce Cathie, pp. 213-217 A New Zealand scientist recently gave me an intriguing extract from an article published in a German magazine, relating to a demonstration of levitation in Tibet. After obtaining a translation by a German journalist, in English, I was amazed at the information contained in the story, and was surprised that the article had slipped through the suppression net which tends to keep such knowledge from leaking out to the public. All the similar types of stories that I had read up until now were generally devoid of specific information necessary to prove the veracity of the account. In this case a full set of geometric measurements were taken, and I discovered, to my great delight, that when they were converted to their equivalent geodetic measures, relating to grid harmonics the values gave a direct association with those in the unified harmonic equations published in my earlier works. The following extracts are translations taken from the German article: 'We know from the priests of the far east that they were able to lift heavy boulders up high mountains with the help of groups of various sounds...the knowledge of the various vibrations in the audio range demonstrates to a scientist of physics that a vibrating and condensed sound field can nullify the power of gravitation. Swedish engineer Olaf Alexanderson wrote about this phenomenon in the publication, Implosion No. 13. The following report is based on observations which were made only 20 years ago in Tibet. I have this report from civil engineer and flight manager, Henry Kjelson, a friend of mine. He later on included this report in his book, The Lost Techniques. This is his report. A Swedish doctor, Dr. Jarl, a friend of Kjelsons, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later, it was 1939, Dr. Jarl made a journey to Egypt for the English Scientific Society. There he was seen by a messenger of his Tibetan friend, and urgently requested to come to Tibet to treat a high Lama. After Dr. Jarl got the leave he followed the messenger and arrived after a long journey by plane and Yak caravans, at the monastery, where the old Lama and his friend who was now holding a high position were now living. Dr. Jarl stayed there for some time, and because of his friendship with the Tibetans he learned a lot of things that other foreigners had no chance to hear about or observe. One day his friend took him to a place in the neighbourhood of the monastery and showed him a sloping meadow which was surrounded in the north west by high cliffs. In one of the rock walls, at a height of about 250 metres was a big hole which looked like the entrance to a cave. In front of this hole there was a platform on which the monks were building a rock wall. The only access to this platform was from the top of the cliff and the monks lowered themselves down with the help of ropes. In the middle of the meadow, about 250 metres from the cliff, was a polished slab of rock with a bowl like cavity in the centre. The bowl had a diameter of one metre and a depth of 15 centimetres. A block of stone was manoeuvred into this cavity by Yak oxen. The block was one metre wide and one and one half metres long. Then 19 musical instruments were set in an arc of 90 degrees at a distance of 63 metres from the stone slab. The radius of 63 metres was measured out accurately. The musical instruments consisted of 13 drums and 6 trumpets.(Ragdons) Eight drums had a cross-section of one metre, and a length of one and one half metres. Four drums were medium size with a cross-section of 0.7 metre and a length of one metre. The only small drum had a cross-section of 0.2 metres and a length of 0.3 metres. All the trumpets were the same size. They had a length of 3.12 metres and an opening of 0.3 metres. The big drums and all the trumpets were fixed on mounts which could be adjusted with staffs in the direction of the slab of stone. The big drums were made of 1mm thick sheet iron, and had a weight of 150kg. They were built in five sections. All the drums were open at one end, while the other end had a bottom of metal, on which the monks beat with big leather clubs. Behind each instrument was a row of monks. When the stone was in position the monk behind the small drum gave a signal to start the concert. The small drum had a very sharp sound, and could be heard even with the other instruments making a terrible din. All the monks were singing and chanting a prayer, slowly increasing the tempo of this unbelievable noise. During the first four minutes nothing happened, then as the speed of the drumming, and the noise, increased, the big stone block started to rock and sway, and suddenly it took off into the air with an increasing speed in the direction of the platform in front of the cave hole 250 metres high. After three minutes of ascent it landed on the platform. Continuously they brought new blocks to the meadow, and the monks using this method, transported 5 to 6 blocks per hour on a parabolic flight track approximately 500 metres long and 250 metres high. From time to time a stone split, and the monks moved the split stones away. Quite an unbelievable task. Dr. Jarl knew about the hurling of the stones. Tibetan experts like Linaver, Spalding and Huc had spoken about it, but they had never seen it. So Dr. Jarl was the first foreigner who had the opportunity to see this remarkable spectacle. Because he had the opinion in the beginning that he was the victim of mass-psychosis he made two films of the incident. The films showed exactly the same things that he had witnessed. The English Society for which Dr. Jarl was working confiscated the two films and declared them classified. They will not be released until 1990. This action is rather hard to explain, or understand.: End of trans.' The fact that the films were immediately classified is not very hard to understand once the given measurements are transposed into their geometric equivalents. It then becomes evident that the monks in Tibet are fully conversant with the laws governing the structure of matter, which the scientists in the modern day western world are now frantically exploring. It appears, from the calculations, that the prayers being chanted by the monks did not have any direct bearing on the fact that the stones were levitated from the ground. The reaction was not initiated by the religious fervour of the group, but by the superior scientific knowledge held by the high priests. The secret is in the geometric placement of the musical instruments in relation to the stones to be levitated, and the harmonic tuning of the drums and trumpets. The combined loud chanting of the priests using their voices at a certain pitch and rhythm most probably adds to the combined effect, but the subject matter of the chant, I believe, would be of no consequence. The sound waves being generated by the combination were directed in such a way that an anti-gravitational effect was created at the centre of focus (position of the stones) and around the periphery, or the arc, of a third of a circle through which the stones moved. If we analyse the diagram published with the original article, then compare it with the modified diagram, we become aware of the following coordinates, and the implications, when compared with my previously published works. The distance between the stone block and the central pivot of the drum supports is shown as 63 metres. The large drums were said to be one and one half metres long, so the distance from the block to the rear face of each drum could be close to 63.75 metres considering that the pivot point would be near the centre of balance. My theoretical analysis, by calculator, indicates that the exact distance would be 63.7079 metres for the optimum harmonic reaction. By mathematical conversion we find that this value is equal to 206.2648062 geodetic feet, which is harmonically equal to the length of the earths radius in seconds of arc (relative to the earths surface) 206264.8062. This also leads us to the following associations: (206.2648062 x 2) = 412.5296124 This number squared = 170180.68 which is the theoretical harmonic of mass at the earths surface. The four rows of monks standing behind the instruments in a quarter circle added to the production of sound by their loud chanting and must be taken in to account in regards to the geometric pattern. If we assume that they were standing approximately two feet apart, we can add a calculated value of 8.08865 geodetic feet to the radius of the complete group. This gives a maximum radius of: 214.3534583 geodetic feet. The circumference of a complete circle with this radius would be: 1346.822499 geodetic feet. Which is a half harmonic of 2693.645 (unified field) The distance from the stone block to a calculated point within the cliff face and the height of the ledge on the cliff face from ground level is given as 250 metres. If we can now imagine that the raised stone blocks pass through a quarter arc of a circle during their flight from ground level to the hole in the cliff face, then the pivot point of the radius would be coincident with this position. The theoretical radius was found to be: 249.8767262 metres which very closely approximates the estimate. This converts to 809.016999 geodetic feet. The diameter of the full circle would therefore be: 1618.034 geodetic feet. A circle with this diameter has a circumference of 5083.203728 units, which can be divided into three even lengths of 1694.4 It therefore appears that the levitated blocks, once resonated to a certain frequency, would tend to carry out a flight path that is coincident to one third of a circle. The spacial distance being equivalent to the mass harmonic at the center of a light field, 1694443. The instruments used by the group, in theory, would also have been tuned to produce harmonic wave forms associated with the unified fields. The given measurements are in rounded off parts of a metre but in practice some slight variations from these measurements would be expected in order to create the appropriate resonating cavities within the instruments The geometric arrangement, and the number of instruments in the group would also be a most important factor. If the given measurement for each type of drum is modified fractionally and converted to its geometric equivalent an interesting value for the cubic capacity is evident. The large drums: 1.517201563 metres long, 1.000721361 metres wide = 58.94627524 geodetic inches long, 38.88 geodetic inches wide = 69984 cubic inches capacity = 40.5 cubic geodetic feet capacity. Therefore the cubic capacity for eight drums = 324 cubic geodetic feet This harmonic value is built into the world grid and is equal to half the harmonic 648. The medium size drums: 1.000721361 metres long, 0.695189635 metres wide = 38.88 geodetic inches long, 27.00948944 geodetic inches wide = 22276.59899 cubic geodetic inches capacity = 12.89155034 cubic geodetic feet capacity. Therefore the cubic capacity for four drums: = 51.56620136 cubic geodetic feet 14.97414932 centimetres = 5.895334377 inches = 5.817764187 geodetic inches = 0.484813682 geodetic feet As the dish-shape was focused upward towards the stone block to be levitated it would be expected that some type of reaction would take place which had an effect on the mass. The geometric shape of the cavity does seem to be engineered in such a way the projected frequency vortex causes a reciprocal reaction to the mass harmonic of each block. The reciprocal of 0.484813682 = 2.062648055 Twice this value: = 4.12529611 The square of this value: = 17.018068 (the harmonic of mass at the earth's surface.17018068 I believe that there is not much doubt that the Tibetans had possession of the secrets relating to the geometric structure of matter, and the methods of manipulating the harmonic values, but if we can grasp the mathematical theory behind the incident, and extend the application, then an even more fascinating idea presents itself. Tai Shan .  Levitating Taoist Monk From the most ancient times Tai Shan as been the premire sacred mountain of China. It is the Taoist sacred mountain of the East - the pillar linking Heaven and Earth. From here life originated and where the souls of the dead return. Tai Shan has been a place of pilgrimage throughout Chinese history - Confucius, Lao Zi, the emperors of China and even Mao Ze Dong have all paid their respects here. The pilgrims path begins in the town of Taian at the sprawling Dai Miao Temple. From here the Broad Road to Heaven (Pan Lu) leads the pilgrim up to the summit of Tai Shan and the Temple of the Jade Emperor (Yu Huang Ding) at the highest peak. - Source -------------------------------------------------------------------------------- Grid Harmonics - Levitation in Tibet Henry Kjelson, "The Lost Techniques" © Labyrinthina We know from the priests of the far east that they were able to lift heavy boulders up high mountains with the help of groups of various sounds. The knowledge of the various vibrations in the audio range demonstrates to a scientist of physics that a vibrating and condensed sound field can nullify the power of gravitation. Swedish engineer Olaf Alexanderson wrote about this phenomenon in the publication, Implosion No. 13. The following report is based on observations which were made only 20 years ago in Tibet. I have this report from civil engineer and flight manager, Henry Kjelson, a friend of mine. He later on included this report in his book The Lost Techniques. This is his report: A Swedish doctor, Dr Jarl, a friend of Kjelsons, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later, it was 1939, Dr Jarl made a journey to Egypt for the English Scientific Society. There he was seen by a messenger of his Tibetan friend, and urgently requested to come to Tibet to treat a high Lama. After Dr Jarl got the leave he followed the messenger and arrived after a long journey by plane and Yak caravans, at the monastery, where the old Lama and his friend who was now holding a high position were now living. Dr Jarl stayed there for some time, and because of his friendship with the Tibetans he learned a lot of things that other foreigners had no chance to hear about, or observe. One day his friend took him to a place in the neighborhood of the monastery and showed him a sloping meadow which was surrounded in the north west by high cliffs. In one of the rock walls, at a height of about 250 metres was a big hole which looked like the entrance to a cave. In front of this hole there was a platform on which the monks were building a rock wall. The only access to this platform was from the top of the cliff and the monks lowered themselves down with the help of ropes. In the middle of the meadow, about 250 metres from the cliff, was a polished slab of rock with a bowl like cavity in the centre. The bowl had a diameter of one metre and a depth of 15 centimeters. A block of stone was manoeuvred into this cavity by Yak oxen. The block was one metre wide and one and one-half metres long. Then 19 musical instruments were set in an arc of 90 degrees at a distance of 63 metres from the stone slab. The radius of 63 metres was measured out accurately. The musical instruments consisted of 13 drums and six trumpets. (Ragdons). Eight drums had a cross-section of one metre, and a length of one and one- half metres. Four drums were medium size with a cross-section of 0.7 metre and a length of one metre. The only small drum had a cross-section of 0.2 metres and a length of 0.3 metres. All the trumpets were the same size. They had a length of 3.12 metres and an opening of 0.3 metres. The big drums and all the trumpets were fixed on mounts which could be adjusted with staffs in the direction of the slab of stone. The big drums were made of 3mm thick sheet iron, and had a weight of 150 kg. They were built in five sections. All the drums were open at one end, while the other end had a bottom of metal, on which the monks beat with big leather clubs. Behind each instrument was a row of monks. When the stone was in position the monk behind the small drum gave a signal to start the concert. The small drum had a very sharp sound, and could be heard even with the other instruments making a terrible din. All the monks were singing and chanting a prayer, slowly increasing the tempo of this unbelievable noise. During the first four minutes nothing happened, then as the speed of the drumming, and the noise, increased, the big stone block started to rock and sway, and suddenly it took off into the air with an increasing speed in the direction of the platform in front of the cave hole 250 metres high. After three minutes of ascent it landed on the platform. Continuously they brought new blocks to the meadow, and the monks using this method, transported 5 to 6 blocks per hour on a parabolic flight track approximately 500 metres long and 250 metres high. From time to time a stone split, and the monks moved the split stones away. Quite an unbelievable task. Dr Jarl knew about the hurling of the stones. Tibetan experts like Linaver, Spalding and Huc had spoken about it, but they had never seen it. So Dr Jarl was the first foreigner who had the opportunity to see this remarkable spectacle. Because he had the opinion in the beginning that he was the victim of mass-psychosis he made two films of the incident. The films showed exactly the same things that he had witnessed. The English Society for which Dr Jarl was working confiscated the two films and declared them classified. They will not be released until 1990. This action is rather hard to explain, or understand. SOURCE: Labyrinthina Tibetan and Indian Monks Still Master the Art of Levitation Legends say that ancient levitators were able to rise above the ground up to 90 cm Gods in Oriental Mythology had a special ability. They could fly. However, ordinary mortals could master the unique art of flying too. For example, Indian Brahmans, yogis, hermits and fakirs could rise and float in the air. There is a chapter in the Vedas on levitation, a sort of guidelines on how to reach a state required for taking off the ground. Unfortunately, the meaning of many ancient Indic words and concepts has been irretrievably lost over the last few centuries and therefore the invaluable instructions can not be translated into modern languages. As regards the ancient levitators, records at hand say that they were able to rise above the ground up to 90 cm. They did not lift off to impress the onlookers, they simply wanted to assume the most suitable position for performing religious rites. The art of levitation still exists both in India and Tibet. Many scholars engaged in oriental studies also mention the phenomenon of “flying lamas.” Alexandra David-Neel, a British explorer, one day witnessed the flight of a Buddhist monk. The monk flew a few dozen meters over the alpine plateau Cnang Tang. He was bouncing off the ground like a tennis ball to rise in the air again and again. He kept his eyes on some guiding star hanging somewhere in the distance, the monk was the only person who could see the star in broad daylight. Europeans have long been aware of levitation too. There was one big difference between Eastern and Western medieval levitators. Unlike the Brahmans, yogis and lamas, the monks in Europe never took any special training for levitational purposes. They would normally rise in the air after reaching a state of ultimate religious ecstasy. Saint Theresa According to trustworthy records, Saint Theresa, a Carmelite nun, was one of the first levitator of the Middle Ages. Her flight was seen by 230 catholic priests. The nun wrote about her unusual “gift” in the autobiography dated 1565. It is quite noteworthy that Saint Theresa herself did not want to fly. She spent long hours praying desperately in an attempt to get rid of her special power. She was asking Lord to relieve her of that grace. One night the Almighty finally heard the nun’s praying. She did not fly ever since that night. Josef Desa .  Josef Desa used to be the most famous “flying man.” He was born into a devout family in South Italy. Since he was a boy, Josef was a very religious person prone to inflicting all kinds of torture upon himself in order to experience a state of religious ecstasy. Later he joined the Franciscans. He would get really ecstatic at times and rise in the air. One day he floated right before the Pope's very eyes. Josef arrived in Rome. The Pope Urban VIII granted him an audience. Josef got as excited as one could be. He could not help rising in the air. The head of the Order of St. Francis eventually brought Josef back to earth. Men of science observed more than a hundred cases of levitation of Josef. They put down their comments in the official records. However, the Christians were thought to be embarrassed by Josef's flights. As a result, Josef was sent to a out-of-the-way monastery in 1653. He was transferred to another monastery three months later, then to another one. The list can go on. Wherever he appeared, the news about the “miracle man” spread like wild fire. People from the neighboring towns and villages stood outside the monastery walls waiting for a miracle. Finally, Josef was transferred to a monastery in Osimo where he died in the fall of 1663. He was canonized four year later. Daniel Douglas Hewm Daniel Douglas Hewm was the most famous levitator of the 19th century. Below is the description of his first flight penned by an editor of an American newspaper. “All of a sudden Hewm began lifting off and all the people in the room got completely surprised. I could see his legs floating about a foot about the ground. Hewm apparently could not speak as he had a twinge going from top to toe after the clash of fear and rapture in his mind. He went down some time later, and rose up again. He went up to the ceiling during a third ascent.” Hewm learned to levitate of his own free will later on. He showed his outstanding ability to thousands of spectators including such celebrities as William Makepeace Thackeray and Mark Twain, Napoleon III, other politicians, doctors and scientists of note. Hewm has never been accused of hoaxing an audience. There is a lot of controversy regarding a physical nature of levitation. Some researchers say that it is a product of the biogravitational field created by a special kind of mental energy emitted by the human brain. Doctor of Biological Sciences Alexander Dubrov is a supporter of this hypothesis. Dr. Dubnov points out that the biogravitational field is deliberately created by a levitator and therefore the latter can control the field and change the direction of a flight. www.thelivingmoon.com/44cosmic_wisdom/02files/Levitation03.html |
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Post by brillbilly on Feb 5, 2010 1:13:36 GMT 10
LEVITATION IN THE GREAT PYRAMID? Did the Ancient Egyptians have advanced scientific knowledge unknown to us? Is this how the Great Pyramid was built and how other objects they produced that defy explanation in the conventional sense were made? Levitation has for many years been suggested as a way that would raise the heavy limestone and granite blocks used to build the pyramid. Is there any evidence that this was used either from historical records or recent scientific experiments? Let us first look at some historical records. Masoudi, an Arab historian of the 10th century wrote that the Egyptians used magic spells to move large blocks. His account is the following: "In carrying on the work, leaves of papyrus, or paper, inscribed with certain characters, were placed under the stones prepared in the quarries; and upon being struck, the blocks were moved at each time the distance of a bowshot (which would be a little over 200 feet), and so by degrees arrived at the pyramids." Was this story made up by Masoudi, or is there some truth in it? Is it possibly that he was reporting on an early legend that the blocks were moved mysteriously and the story of the inscribed papyrus was added to embellish the story? Or were the blocks placed on some unknown apparatus (mistaken by the historian to be a piece of papyrus) that would levitate them. If you strip away all the additions and embellishments to a legend, sometimes you are left with a strand of truth. There are many other legends of construction of temples, buildings, etc. that used mysterious or magical means to lift blocks. These stories abound in Mayan and Greek legends and even in the Bible. In the opposite sense, the walls of Jericho were brought down by marching around the walls, the blowing of trumpets, and shouting. Maybe to be funny, we could call this downward Levitation. In modern times, there have been many reports by travelers to the east (India, Tibet, China, etc.) that holy men or ascetics have the ability to levitate objects. Again, could this have been produced by slight of hand, imagination, or suggestion? It appears that there are too many of these stories by reliable witnesses to dismiss the possibility that these holy men developed some sort of ability to levitate objects. More recently, followers of Maharish Mahesh Yogi (founder of Transcendental Meditation) have claimed through a specific program of training and discipline to be able to levitate. They are working on scientific confirmation of these results. Through out history levitation has been associated with either mysterious objects, some type of sonic vibrations, and sometimes electrical effects. This really has a modern scientific ring to it. We know that the effects of sound, harmonics, vibration, etc. can produce some modest levitation. There are some interesting stories in the 19th century. One is of John Keely who lived in Pennsylvania. He claimed to have been able to levitate metal balls and other objects. One interesting note is that he also claimed to be able to disintegrate granite. Granite contains quartz, which is a crystal, and by causing the quartz to resonate at an extreme rate, it would cause the granite to break up or disintegrate. This rings a bell with some of the research and speculation that the granite in the King's Chamber and the possibility of it producing piezoelectric effects. To continue, it is reported that he would produce the effect by making his objects with a combination of copper, gold, platinum, and silver. To produce the levitation, he would blow on his trumpet a sustained note. He actually went as far to almost produce his apparatus for commercial sales, but he had arguments with his backers and he destroyed his notes. Another story involves Edward Leedskalnin, who at his home in Florida, built a castle entirely from large blocks of coral weighing between 20 to 30 tons. The total castle was composed of blocks totaling some 1,100 tons and it took him 28 years to complete. He claims to have done it all by himself. He never has revealed his secret and took it to the grave. Chris Dunn has investigated this and calls it the "Coral Castle Mystery". Chris suggests that Leedskalnin had discovered some means of locally reversing the effects of gravity. He speculates that he generated a radio signal that caused the coral to vibrate at its resonant frequency, and then used an electromagnetic field to flip the magnetic poles of the atoms so they were in opposition to the earth's magnetic field. More recently, Tom Danley, an acoustics engineer, has developed an acoustic levitation device, that can levitate small objects. The 1991 Patent of the device reads: "An acoustic levitator includes a pair of opposed sound sources which have interfering sound waves producing acoustic energy wells in which an object may be levitated. The phase of one sound source may be changed relative to the other in order to move the object along an axis between the sound sources." Tom Danley also became interested in the Great Pyramid. Here is an extract from his interview in FATE magazine in 1998. "In the Great Cheops Pyramid in the King's Chamber an F-sharp chord is resident, sometimes below the range of human hearing. Former NASA consultant Tom Danley feels the sound may be caused by wind blowing cross the ends of the air shafts and causing a pop-bottle effect. These vibrations, some ranging as low a 9 hertz down to 0.5 hertz, are enhanced by the dimensions of the Pyramid, as well as the King's Chamber and the sarcophagus case inside. According to Danley, even the type of stone was selected to enhance these vibrations." In a 1997 video, JJ Hurtak said "this chord (F-sharp) is the harmonic of planet Earth to which native Americans still tune their instruments, and is in perfect harmony with the human body." In the Great Pyramid these sounds are infrasonic vibrations, meaning they are below the level of human hearing. Chris Dunn proposes that the source of these infrasonic vibrations come from the earth itself, magnified by the acoustic properties of the Great Pyramid. Boris Said related to Art Bell the following: that the granite blocks forming the floor of the King's Chamber were sitting on corrugated support blocks, which would cause minimal distortion to their ability to resonant. Paul Horn, using a Korg tuner, found that when he struck the coffer it registered the note A with a frequency of 440 cps. Dunn also discovered that when he struck the coffer it registered with a frequency of 438 cps and that the entire chamber was designed to amplify and resonate that frequency and octaves thereof. Dunn's matrix tuner was inferior to Horn's Korg tuner, and his 438 was close enough to Horn's 440. This has been confirmed by other researchers. Another researcher, John Reid, an acoustic engineer stated that while he was lying in the coffer and vocalizing various tones he was staggered by the intensity of the reflected energy. He said "the effect of lying in the sarcophagus while toning its prime resonant frequency is almost like taking a bath. Waves of sonic energy wash over your body almost like water". It does not appear that all this was accidental or incorporated for a ritual. It must have had a more important purpose. We agree with Dunn that these acoustic properties were deliberately built into the Great Pyramid in order to create a resonant chamber. Dunn also feels that this formed part of an energy plant (see Chris Dunn's research in our research section for more details). Does this mean that the Ancient Egyptians knew how to do sonic levitation? At this time, all we can say is that from basic principles of sonic levitation, the structural design of the pyramid (especially the King's Chamber), and recent research in levitation - the possibility is there. Much more research needs to be done but this is an area that needs to be pursued. References: Giza The Truth, Ian Lawton and Chris Ogilvie-Herald, 1999. The Giza Power Plant, Christopher Dunn, 1998. www.gizapyramid.com/articles/levitation.htm |
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Post by brillbilly on Feb 5, 2010 1:20:28 GMT 10
The megalithic structures found at many sites around the world have generated endless controversy as to how they were built. Conventional archaeologists, who dismiss the possibility of highly advanced civilizations in the remote past, insist that they were built solely with the use of primitive tools and brute force. Some of the structures, or parts of them, could have been built in this way. However, a number of engineers have stated that some features would be difficult if not impossible to duplicate today, even using the most advanced technology. The sheer weight and size of some of the stone blocks have prompted several researchers to wonder whether the ancient builders had mastered some form of levitation technology.* *The acoustic and magnetic levitation techniques currently under development by mainstream scientists create a physical lifting force stronger than the force of gravity and do not modify gravity or generate an antigravitational force. The pre-Incan fortresses at Ollantaytambo and Sacsayhuaman in the Peruvian Andes consist of cyclopean walls constructed from tight-fitting polygonal stone blocks, some weighing 120 tonnes or more. The blocks used at Ollantaytambo were somehow transported from a quarry located on another mountaintop 11 km away, the descent from which was impeded by a river canyon with 305-metre vertical rock walls. The ruins of Tiahuanaco (Tiwanaku) near Lake Titicaca in Bolivia include blocks weighing around 100 tonnes, which were transported from quarries 50 km away.1 According to the local Aymara Indians, the complex was built at the ‘beginning of time’ by the founder-god Viracocha and his followers, who caused the stones to be ‘carried through the air to the sound of a trumpet’. An alternative theme is that they created a ‘heavenly fire’ that consumed the stones and enabled large blocks to be lifted by hand ‘as if they were cork’. According to a Mayan legend, the temple complex of Uxmal in the Yucatan Peninsula was built by a race of dwarfs who were able to move heavy rocks into place by whistling.2 Legends of occult power being employed to lift and transport stone blocks are in fact universal. For example, according to tradition the megalithic city of Nan Madol on the Micronesian island of Pohnpei was built by the god-kings Olosopa and Olosipa, who used magic spells to make the huge stones ‘fly through the air like birds’.3 Legends about the huge stone statues or moai on Easter Island, many of which are as high as a three-storey building, tell how magicians or priests used mana, or mind power, to make them ‘walk’, or float through the air.4 According to early Greek historians, the walls of the ancient city of Thebes were built by Amphion, a son of Jupiter, who moved the large stones ‘to the music of his harp’ while his ‘songs drew even stones and beasts after him’. Another version claims that when he played ‘loud and clear on his golden lyre, rock twice as large followed in his footsteps’. The 10th-century Arab historian Mas’di wrote that, to build the pyramids, the ancient Egyptians inserted papyri inscribed with certain characters beneath the stone blocks; they were then struck by an instrument, producing a sound which caused them to rise into the air and travel for a distance of over 86 metres.5 The achievements of the ancient Egyptian builders have caused even some fairly orthodox investigators to wonder whether levitation might have been employed.6 For instance the roof of the King’s Chamber in the Great Pyramid, 200 feet up, consists of huge granite beams weighing up to 70 tonnes. What’s more, the major temples on the Giza plateau – the two next to the Sphinx and those besides the Second and Third Pyramids – contain colossal limestone blocks weighing between 50 and 200 tonnes and placed on top of one another. The largest are 9 metres long, 3.6 metres wide and 3.6 metres high. It is interesting to note that there are only a few cranes in the world today capable of lifting objects weighing 200 tonnes or more.7 The largest blocks used in any known man-made structure are found in the ancient platform beneath the Roman Temple of Jupiter at Baalbek in Lebanon.8 The foundation platform is enclosed by a cyclopean retaining wall; in the western side, on the fifth level, at a height of 10 metres, there are three colossal stones known as the Trilithon, each measuring about 19.5 metres long, 4.5 metres high and 3.5 metres deep, and weighing a staggering 1000 tonnes. The stones fit together perfectly and not even a knife blade can be pushed between them. At the quarry, half a kilometre away, there remains a fourth, even larger block, weighing as much as 1200 tonnes, the lower part of its base still attached to the bedrock. The course beneath the Trilithon contains seven mammoth stones weighing about 450 tonnes each. There are no traces of a roadbed leading from the quarry and no traces of any ramp. Nor are there any written records as to how the platform was built. According to local Arab legend, Baalbek’s first citadel was built before the Flood, and rebuilt afterwards by a race of giants. The Phoenician historian Sanchoniatho stated that Lebanon’s first city was Byblos, founded by the god Ouranus, who designed cyclopean structures and was able to make stones move as if they had a life of their own. Fig. 5.1 The massive Trilithon at Baalbek.9 (The silhouetted two-storey house has been inserted for scale.)  Fig. 5.2 Another view of the Trilithon.  Fig. 5.3 The ‘Stone of the South’ still in the quarry at Baalbek.10  Among the Tibetans Evidence that worldwide legends of acoustic levitation might have a basis in fact, was provided by the Swedish engineer Henry Kjellson, who in the 1950s recorded the experiences of two separate western travellers who had allegedly witnessed demonstrations of sonic technology in Tibet.1 Since neither of the following accounts can be verified, sceptics assume that Kjellson probably made them up himself. During a visit to a Tibetan monastery situated southwest of the capital Lhasa, the Swede Dr Jarl was taken to a meadow where there was a high cliff to the northwest. About 250 metres up the face of the cliff was an entrance to a cave, in front of which was a wide ledge where monks were building a stone wall. Embedded in the ground 250 metres from the foot of the cliff, was a large rock slab with a bowl-shaped depression in it. A block of stone, 1.5 metres long, 1 metre wide, and 1 metre high, was manhandled into the depression. Monks with 19 musical instruments, consisting of 13 drums and 6 very long trumpets, were arranged in an arc of about 90 degrees, 63 metres from the bowl-stone. The drums, open at one end, were aimed at the stone block. Behind each instrument was a line of monks eight to ten deep. A monk in the middle of the arc started chanting and beating out a rhythm on a small drum, and then the other instruments joined in. After four minutes, the large stone block began to wobble and floated into the air rocking from side to side. All the instruments were trained constantly on the stone as it rose upwards at an accelerating rate and finally crashed onto the ledge. The monks continued to perform this feat at the rate of 5 or 6 stones per hour. The role of the 200 or so monks behind the instruments was unclear: one suggestion is that they used some form of coordinated psychokinesis to aid the flight of the stone. Fig. 5.4 Dr Jarl’s sketch showing how Tibetan monks were able to raise stone blocks into the air using the power of sound.  The second case involved an Austrian named Linauer, who stated that while at a remote monastery in northern Tibet during the 1930s, he had witnessed the demonstration of two curious sound instruments which could induce weightlessness in stone blocks. The first was an extremely large gong, 3.5 metres in diameter, composed of a central circular area of very soft gold, followed by a ring of pure iron, and finally a ring of extremely hard brass. When struck, it produced an extremely low dumph which ceased almost immediately. The second instrument was also composed of three different metals; it had a half-oval shape like a mussel shell, and measured 2 metres long and 1 metre wide, with strings stretched longitudinally over its hollow surface. Linauer was told that it emitted an inaudible resonance wave when the gong was struck. The two devices were used in conjunction with a pair of large screens, positioned so as to form a triangular configuration with them. When the gong was struck with a large club to produce a series of brief, low-frequency sounds, a monk was able to lift a heavy stone block with just one hand. Linauer was informed that this was how their ancestors had built protective walls around Tibet, and that such devices could also disintegrate physical matter. Keely and Leedskalnin A man who appears to have gone a long way to unlocking the secrets of sound was John Ernst Worrell Keely of Philadelphia (1827-1898). He spent 50 years developing and refining a wide variety of devices that used ‘sympathetic vibratory force’ or ‘etheric force’ to levitate objects, spin large wheels, power engines, and disintegrate rock. He performed many convincing demonstrations in his laboratory for scientists and other interested observers. He attempted to put his apparatus into commercial production, but this was hampered by the fact that it had to be tuned to the bodily vibrations of the operator and also to the surroundings.1 Fig. 5.5 John Keely.  Keely built several devices to manipulate gravity.2 One of them was the ‘sympathetic transmitter’, a copper globe about one foot (30 cm) in diameter, containing a Chladni plate and various metal tubes, whose position could be adjusted by means of a knob. The globe was held by a metal stand, around the base of which projected small metal rods a few inches long, of different sizes and lengths, which vibrated like tuning forks when twanged by the fingers. In one experiment, the transmitter was connected by a wire made of gold, platinum, and silver to the top of a water-filled glass jar. When the right chord was sounded on the strings of a zither, metal balls, weighing 2 pounds (0.9 kg), rose from the bottom of the jar until they hit the metal cap, and remained there until a different note was played which caused them to sink again. Witnesses relate how, after further experimentation, Keely was able to make heavy steel balls move in the air by simply playing on a kind of mouth organ. Using the same combination of transmitter, connecting cord, and musical instrument, he was able to make a 3.6-kg model of an airship rise into the air, descend, or hover with a motion ‘as gentle as that of thistledown’. He was also able to lift extremely heavy weights by connecting them to vibratory appliances worn on his person; several people witnessed him levitate and move a 3-tonne cast-iron sphere in this way, and also make it heavier so that it sank into the ground as if into mud. Keely was able to catalyze the vibratory force necessary to make objects move using a variety of musical instruments, including trumpets, horns, harmonicas, fiddles, and zithers, and could even operate the equipment just by whistling. One sceptic, however, claimed that Keely did not play on an instrument to set up sympathetic vibration but to signal to a confederate in another part of the building when to turn on or off the compressed air that supposedly powered his ‘fraudulent’ devices! A man who in more recent times claimed to know the secret of how the pyramids and other megalithic structures were built was Edward Leedskalnin.3 He lived in a place called Coral Castle, near Miami, Florida, which he built himself from giant blocks of coral weighing up to 30 tons. In 28 years, working alone, without the use of modern construction machinery, he quarried and erected a total of 1100 tons. He was very secretive and usually worked at night, and died in 1952 without divulging his construction techniques, despite visits from engineers and government officials. Some teenagers spying on him one evening claimed they saw him ‘float coral blocks through the air like hydrogen balloons’. It is widely thought that he had discovered some means of locally reversing the effects of gravity. From the remaining contents of Leedskalnin’s workshop and photographic evidence, engineer Chris Dunn suggests that he generated a radio signal that caused the coral to vibrate at its resonant frequency, and then used an electromagnetic field to flip the magnetic poles of the atoms so that they were repulsed by the earth’s magnetic field. Fig. 5.6 The Nine-ton Gate at Coral Castle. Originally used as a turnstile, the 8-foot-tall gate is perfectly mounted and balanced so that a child can open it with the touch of a finger.4  Schauberger and nature’s levity According to aeronautical experts, the flight of the simple bumble bee is a mystery that defies conventional laws of physics, as its wings do not flutter rapidly enough to create sufficient lift. The rhinoceros beetle should also be unable to fly as its body mass is completely out of proportion to its wing area. Some writers have suggested that levitational forces help to explain how birds and insects fly, and fishes swim. Austrian scientist and inventor Viktor Schauberger (1885-1958) believed that, alongside gravity, a principle of levity operated in nature, governing all upward movement of energy, all uplift and upward growth. During his early life as a forester in the Alpine wilderness, he observed how large mountain trout could lie motionless in the strongest currents, except for an occasional slight movement of their tail-fins. If alarmed, they darted at lightning speed upstream, instead of allowing the current to carry them downstream. Trout and salmon are able to jump up high waterfalls (even as much as 60 m high) with little apparent effort. Schauberger would watch trout dance in a wild spinning movement at the bottom of a waterfall, and then come out of this spinning movement and float motionlessly upwards. He developed the idea that in addition to the gravitational movement of water from the spring down to the sea, there is a flow of ‘levitational’ energy in the opposite direction. In one experiment Schauberger had 100 litres of hot water poured into a stream. Although it did not noticeably warm the water, a trout resting about 150 m downstream immediately became very agitated: it started to flail its tail, moving backwards all the time as it struggled to maintain its position. Finally it was swept downstream, and only returned much later. Schauberger concluded that the hot water had destroyed the upward flow of levitational energy. One moonlit winter night, he saw egg-shaped stones the size of a head rise to the surface of a deep pool, and concluded that the combined effect of the cold and the metalliferous composition of the stones (especially their silica content) was responsible for enhancing the levitational energies. Schauberger was surprised to find that the tips of mosses on rocks in a shaded mountain stream point upstream, somehow resisting the pressure of the fast-flowing current. He regarded this as a reliable indicator of a stream’s state of health, because it showed that the downstream gravitational flow of matter and the upstream, levitational flow of energy were in balance. However, if through deforestation a stream is exposed to direct sunlight, the water becomes warmer, less dense, and the moss-tips point downstream. Pristine wilderness is nowadays hard to find, owing to the marauding hand of man. Schauberger sought to develop energy-generating machines which, by the power of shape, form, and motion alone, were able to mimic nature’s processes. Whereas today’s main energy technologies use outward-moving explosion, such as fuel-burning and atom-splitting, his machines operated on the basis of inward-spiralling movements, or implosion. He wrote: ‘If water or air is rotated into a twisting form of oscillation known as “colloidal”, a buildup of energy results, which with immense power, can cause levitation.’ Vortical motion, with rotational velocities of 15-20,000 revolutions per minute, accompanied by rapid cooling, created strong vacuum effects inside his machines. Some researchers think that the transmutation of matter into more ethereal states and the production of genuine levitational forces also occurred. Detailed reports of his experiments with a variety of designs are generally lacking, but his efforts seem to have met with at least partial success. During the second world war, he was forced to work for the Nazis, and developed small ‘flying saucers’. One of the scientists involved was reported as saying that at the first attempt to run one of the models, it shot upwards unexpectedly, trailing a blue-green then silver-coloured glow, and was wrecked against the ceiling of the hangar. At the end of the war Schauberger’s research was investigated by the Americans and Russians, but as far as the public record is concerned, none of his models were developed further. More recently there has been a resurgence of interest in his revolutionary ideas.1 Fig. 5.7 Two prototypes of Schauberger’s flying saucer, about 65 cm in diameter.  References Myths and megaliths Paul LaViolette, Genesis of the Cosmos: The ancient science of continuous creation, Rochester, VE: Bear and Company, 2004, p. 343; Ian Lawton and Chris Ogilvie-Herald, Giza: The truth, London: Virgin, 1999, p. 201. Andrew Collins, Gods of Eden: Egypt’s lost legacy and the genesis of civilisation, London: Headline, 1998, pp. 58-62. Graham Hancock and Santha Faiia, Heaven’s Mirror: Quest for the lost civilization, London: Michael Joseph, 1998, p. 235. ‘Easter Island: land of mystery’, section 5, davidpratt.info. Gods of Eden, pp. 35-37, 62-63. Giza: The truth, pp. 198-210. Robert Bauval and Graham Hancock, Keeper of Genesis, London: Heinemann, 1996, pp. 28-29. Andrew Collins, ‘Baalbek, Lebanon’s sacred fortress’, www.andrewcollins.com/page/articles/baalbek.htm; Gods of Eden, pp. 63-64; David Hatcher Childress, Lost Cities of Atlantis, Ancient Europe & the Mediterranean, Stelle, IL: Adventures Unlimited Press, 1996, pp. 31-36, 48-50; Christian and Barbara Joy O’brien, The Shining Ones, Kemble, Cirencester: Dianthus Publishing, 2001, pp. 265-282. The Shining Ones, p. 269. www.lessing4.de/megaliths/non_europ.htm. Among the Tibetans Collins, Gods of Eden, pp. 66-72. Keely and Leedskalnin H.P. Blavatsky, The Secret Doctrine, Pasadena, CA: Theosophical University Press, 1977 (1888), 1:554-566. Theo Paijmans, Free Energy Pioneer: John Worrell Keely, Lilburn, GA: IllumiNet Press, 1998, pp. 58, 144, 200, 207-212; Clara Bloomfield Moore, Keely and his Discoveries: Aerial navigation, London: Kegan Paul, Trench, Trübner & Co., 1893, Mokelumne Hill, CA: Health Research, 1971, pp. 106, 122-123; Dale Pond, Universal Laws Never Before Revealed: Keely’s secrets, Santa Fe, NM: Message Company, 1996, pp. 54-60, 214-217, 232-234, 257 (www.svpvril.com); Dan A. Davidson, Energy: Breakthroughs to new free energy devices, Greenville, TE: RIVAS, 1990, pp. 12-13. Christopher Dunn, The Giza Power Plant: Technologies of ancient Egypt, Santa Fe, NM: Bear & Co, 1988, pp. 109-119; Frank Joseph, ‘Mysteries of Coral Castle’, Fate, 1998, www.parascope.com/en/articles/coralCastle.htm; Kathy Doore, ‘The enigma of Coral Castle: a geomantic wonder’, www.labyrinthina.com/coral.htm. coralcastle.com. Schauberger and nature’s levity Callum Coats, Living Energies: An exposition of concepts related to the theories of Viktor Schauberger, Bath: Gateway Books, 1996; Olaf Alexandersson, Living Water: Viktor Schauberger and the secrets of natural energy, Bath: Gateway Books, 1996; John Davidson, The Secret of the Creative Vacuum, Saffron Walden, Essex: Daniel Company, 1989, pp. 246-262; Nick Cook, The Hunt for Zero Point, London: Arrow, 2002, pp. 296-328; www.schauberger.co.uk. 5. Human levitation There are reports of over 200 Christian saints levitating – usually involuntarily – during religious raptures, and some cases are supported by an impressive amount of eyewitness testimony.1 For instance, the 16th-century mystic St Teresa of Avila was observed on many occasions, typically when deep in prayer, to rise anywhere from a few feet to as high as the ceiling of the room. When she felt an ‘attack’ coming on she would beg the sisters in her convent to hold her down, though they were not always successful. Once while receiving Holy Communion from the Bishop of Avila, she felt her knees begin to leave the floor so she clutched onto the grille. But after receiving the sacrament, she let go and rose into the air. The 17th-century Franciscan monk St Joseph of Copertino began levitating during services and was often observed by whole congregations. Once while walking in the monastery grounds, he soared up into the branches of an olive tree and remained kneeling on a branch for half an hour, the thin stem hardly moving under his weight. Unable to glide down, after his ecstasy had passed, he had to wait for a ladder to be brought. For 35 years he was banned from all public services, but he levitated not only before the Pope and his fellow monks but also before Europe’s titled heads and the philosopher Leibnitz. The Spanish ambassador to the papal court watched him fly over the heads of a crowd to a statue of the Virgin Mary, where he briefly hovered. After giving his customary shriek, he flew back; the ambassador’s wife had to be revived with smelling salts. The duke of Brunswick hid himself in a stairway to observe one of Joseph’s levitations. After observing a second levitation, the duke renounced his Lutheran faith and became a Catholic. At Osimo, Joseph flew eight feet into the air to kiss a statue of Jesus then carried it off to his cell and floated about with it. He is also reported to have caught up another friar and carried him in the air around the room. The annals of 19th-century spiritualism contain many references to human levitations, as well as to tables, chairs, and other objects gaining or losing weight, levitating, and moving without human contact.2 The most famous levitator of all was the medium Daniel Dunglas Home (pronounced: Hume). His first recorded levitation took place at a seance in August 1852. He was suddenly ‘taken up into the air . . . He palpitated from head to foot with the contending emotions of joy and fear . . . Again and again he was taken from the floor, and the third time he was carried to the ceiling of the apartment, with which his hands and feet came into gentle contact.’ He later became able to levitate at will, and believed he was lifted up by ‘spirits’. During a public career spanning 30 years, hundreds of people witnessed his levitations. The most famous incident was when in the company of Lord Adare, the Master of Lindsay, and a friend of theirs, he floated out of one window of a London house and in at another. The eminent English scientist Sir William Crookes saw him levitate on several occasions and verified that there was no trickery involved. On one occasion, Crookes’ wife, who was sitting beside Home, was raised off the ground in her chair.3 The magician Harry Kellar, who enjoyed showing audiences how mediums did their tricks, described how during a world tour in the 1870s he was watching a Zulu witch doctor go into a trance when suddenly ‘to my intense amazement, the recumbent body slowly arose from the ground and floated upward in the air to the height of about three feet, where for a while it floated, moving up and down’. In 1882 he challenged the medium William Eglinton to perform some feat which no conjuror could repeat. Eglinton then levitated, carrying Kellar, holding his foot, into the air – an achievement which Kellar had to admit he could not explain.4 The Italian medium Eusapia Palladino occasionally used to levitate and was also able to increase or decrease the weight of objects. Her paranormal powers were verified in investigations conducted by European scientists around the turn of the 20th century. After witnessing her demonstrations, the French astronomer Camille Flammarion stated that levitation should no longer be any more in question than the attraction of iron by a magnet.5 In the 1920s Brazilian medium Carlos Mirabelli performed stunning phenomena under test conditions. Full-form materializations of deceased individuals known to the witnesses appeared, who were able to converse with the investigators, and to touch and be touched. He was also able to levitate and remain floating for minutes at a time. In one instance, a chair with Mirabelli in it rose into the air until it was two metres above the floor, where it remained for two minutes.6 Levitations of mediums have frequently been reported since then in spiritualist journals but, as far as is known, no medium has been able to produce them in fraud-proof conditions. Fig. 6.1 Mirabelli levitating.  Levitation is one of the Catholic Church’s criteria for demonic possession. In 1906 a 16-year-old schoolgirl from South Africa, Clara Germana Cele, who was allegedly possessed, levitated up to 5 feet off the ground, sometimes vertically and sometimes horizontally. She fell if sprinkled with holy water.7 In the mid-19th century, Louis Jacolliot, Chief Justice of Chandernagore, travelled all over India to learn more about wonder-working fakirs. He witnessed many extraordinary phenomena, which he tried to view in an objective and unprejudiced manner. In Varanasi (Benares) he met a fakir named Covindasamy, who performed various paranormal phenomena for him. On one occasion he crossed his arms on his chest and slowly levitated to a height of ten to twelve inches, remaining in the air more than eight minutes.8 Another of his levitations is described by Jacolliot as follows: Leaning upon [his] cane with one hand, the Fakir rose gradually about two feet from the ground. His legs were crossed beneath him, and he made no change in his position . . . For more than twenty minutes I tried to see how Covindasamy could thus fly in the face and eyes of all the known laws of gravity; it was entirely beyond my comprehension; the stick gave him no visible support, and there was no apparent contact between that and his body, except through his right hand.9 A similar display was reported by American journalist John Keel. While travelling in Sikkim in the 1950s, he met an old lama who demonstrated his ability to levitate. He . . . pressed one hand on top of his stick, a heavy branch about four feet long, frowned a little with effort, and then slowly lifted his legs up off the floor until he was sitting cross-legged in the air! There was nothing behind him or under him. His sole support was his stick, which he seemed to use to keep his balance. I was astounded. The lama then conducted the rest of the conversation ‘sitting there in empty space’.10 In July 1916, P. Muller, a German veterinarian stationed in Turkey, attended a gathering of the Rufai dervishes. He described a large hall in which white-robed dervishes wearing tall black caps ‘moved in a circle with sideways steps and curious jerking motions’. About an hour into the ceremony, the music and dancing and cries of the dancers intensified, when suddenly one of them bounded into the middle of the circle. He stood still, with his arms upraised, palms facing the sky: And now the incomprehensible happened . . . lowly the whole tense body of this man elevated itself about eighteen inches off the floor and remained there, floating in the air with the toes pointing down.
The ecstatic man remained suspended for about a minute.11
Tibetans speak of a power of fast-walking known as lung-gom. An eye-witness account was provided by Alexandra David-Neel, an early 20th-century explorer, journalist, and Buddhist. While in northern Tibet, she saw a man approaching with an ‘unusual gait’ and ‘extraordinary swiftness’.
I could clearly see his perfectly calm impassive face and wide-open eyes with their gaze fixed on some invisible far-distant object situated somewhere high up in space. The man did not run. He seemed to lift himself from the ground, proceeding by leaps. It looked as if he had been endowed with the elasticity of a ball and rebounded each time his feet touched the ground. His steps had the regularity of a pendulum.12
The native American Indians apparently knew of a similar method of magical running. In the 1920s anthropologist Carobeth Laird reported on one of the last men to travel ‘the old way’: the tracks left by his feet were very faint and far apart, as if his feet had barely touched the ground.13
On 6 June 1936, Indian yogi Subbayah Pullavar levitated for four minutes in front of 150 witnesses. He was in a state of deep trance and, once back on the ground, his limbs could not be unbent at first.14
Fig. 6.2 Indian yogi Subbayah Pullavar.
In 1984 a German film crew filmed the levitation of an African witch-doctor, Nana Owaka, in Togo. After meditating for a full day, he placed dry leaves and twigs in a circle and sat in the middle.
Just as the sun was setting, Owaka started to stir. A villager lit the circle of twigs and flames shot up. Drums began beating wildly – then we were hardly able to believe our eyes as Owaka stood and rose straight upward! It was as if he were being lifted on a pillow of air. He simply hung as if suspended, with nothing above or below him.
After about a minute, Owaka fell back to earth. He was filmed from two angles, and no one who has examined the film has been able to detect any signs of trickery.15
Paranormal phenomena, including levitation, are sometimes reported in connection with UFO encounters. For instance, in 1954 a man who was coming back from the fields with his horse had to let go of the bridle as the animal was lifted several feet into the air when a dark, circular object flew fast over the trail they were following. In 1968 a French doctor saw two glowing discs in the sky merge into a single object, and during the sighting he was hit by a beam of light. A few days later he and his baby son each developed a strange, reddish, triangular mark on the abdomen, and this mark recurred in successive years. Strange paranormal phenomena began to take place, including poltergeist activity, unexplained disturbances in electrical circuits, meetings with a mysterious, nameless man, and on at least one occasion uncontrolled levitation.16
References
Rodney Charles and Anna Jordan, Lighter than Air: Miracles of human flight from Christian saints to native American spirits, Fairfield, IO: Sunstar Publishing, 1995, pp. 155-180; Stuart Gordon, The Paranormal: An illustrated encyclopedia, London: Headline, 1992, p. 395; Brian Inglis, The Paranormal: An encyclopedia of psychic phenomena, London: Paladin, 1985, pp. 159-160; Richard S. Broughton, Parapsychology: The controversial science, New York: Ballantine Books, 1991, pp. 52-53.
William Crookes, Researches in the Phenomena of Spiritualism, London: J. Burns, 1874, Pomeroy, WA: Health Research, n.d., pp. 9-19, 21-43, 88-91; H.P. Blavatsky, Isis Unveiled, Pasadena, CA: Theosophical University Press, 1972 (1877), 1:202-204, 358-359.
Researches in the Phenomena of Spiritualism, pp. 89-90; Gordon, The Paranormal, pp. 395-396; Inglis, The Paranormal, p. 161.
Inglis, The Paranormal, pp. 161-162.
Brian Inglis, Natural and Supernatural: A history of the paranormal, Bridport, Dorset: Prism Press, Lindfield, NSW: Unity Press, 1992, p. 425.
Brian Inglis, Science and Parascience: A history of the paranormal, 1914-1939, London: Hodder and Stoughton, 1984, p. 224.
Rosemary Ellen Guiley, The Encyclopedia of Ghosts and Spirits, New York: Checkmark Books, 2nd ed., 2000, p. 221.
Louis Jacolliot, Occult Science in India and Among the Ancients, NY: University Books, 1971, p. 257.
Ibid., pp. 237-238.
Lighter than Air, pp. 64-65.
Ibid., p. 132.
Alexandra David-Neel, With Mystics and Magicians in Tibet, London: Penguin Books, 1937, p. 186.
Lighter than Air, pp. 98-99.
Gordon, The Paranormal, pp. 358/9.
D. Hatcher Childress (ed.), The Anti-Gravity Handbook, Kempton, IL: Adventures Unlimited Press, 1993, p. 171.
‘UFOs: the psychic dimension’, section 6, davidpratt.info.
6. Theosophical writings
As mentioned in section 1, Kepler believed that the rotation of the sun generated its gravitational force. A disciple of Pythagoras and Plato, he believed in an ether of subtler matter and that stars and planets were animated by souls. He took the view that it was solar magnetism that held the planets in their orbits, and he conceived magnetism to be a form of vortical motion. More recent theosophical writers such as H.P. Blavatsky, W.Q. Judge, and G. de Purucker have also highlighted the link between gravity and electromagnetism, the bipolar nature of gravity, and the etheric origin of force, as the following quotations show.
ether is the source and cause . . . of cohesive, chemical, thermal, electric, and magnetic forces . . .1
[T]he Occultists . . . consider all the forces of Nature as veritable, though supersensuous, states of Matter; and as possible objects of perception to Beings endowed with the requisite senses.2
[T]here is no gravitation in the Newtonian sense, but only magnetic attraction and repulsion; . . . it is by their magnetism that the planets of the solar system have their motions regulated in their respective orbits by the still more powerful magnetism of the sun, not by their weight or gravitation.3
Gravitation . . . depends entirely on electrical law, and not on weight or density.4
[The theosophical adepts] reject gravity as at present explained. They deny that the so-called ‘impact theory’* is the only one that is tenable in the gravitation hypothesis. They say that if all efforts made by the physicists to connect it with Ether, in order to explain electric and magnetic distance-action have hitherto proved complete failures, it is again due to the race ignorance of the ultimate states of matter in nature, foremost of all the real nature of the solar stuff. Believing but in the law of mutual magneto-electric attraction and repulsion, they agree with those who have come to the conclusion that ‘Universal gravitation is a weak force,’ utterly incapable of accounting for even one small portion of the phenomena of motion.5
*The theory that gravity is caused by bombardment of material objects with tiny particles.
[G]ravitation [is] the same fundamentally as cosmic electro-magnetism.6
[G]ravitation is: Vital Cosmic Magnetism; the efflux or outflow of cosmic vitality from the heart of the celestial bodies . . . It is this Vital Electricity or Vital Magnetism in the Cosmic Structure which attracts in all directions, thus uniting all things into the vast body corporate of the Cosmos. Furthermore, some day it will be discovered that this Cosmic Magnetic Vitality contains or includes in itself as powerful and as greatly functional an element of repulsion as it does of attraction; and that behind all its phenomenal workings, in fact, behind and within itself, lie the still higher and incomparably more potent principles or elements of the inner and invisible Universe which thus infallibly guide its activities everywhere.7
[Einstein’s] ideas with regard to the nature of gravitation as being . . . a warping or distortion of space in the proximity of material bodies seem to be a mathematical pipe-dream, purely and simply, although doubtless very creditable indeed to the gentleman’s mathematical ability . . .8
The earth is a magnetic body . . . It is charged with one form of electricity – let us call it positive – which it evolves continuously by spontaneous action, in its interior or centre of motion. Human bodies, in common with all other forms of matter, are charged with the opposite form of electricity – negative. That is to say, organic or inorganic bodies, if left to themselves will constantly and involuntarily charge themselves with, and evolve the form of electricity opposed to that of the earth itself. . . . [T]here is an attraction between our planet and the organisms upon it, which holds them upon the surface of the ground. But the law of gravitation has been counteracted in many instances, by levitations of persons and inanimate objects . . . [T]he action of our will . . . can produce . . . a change of this electrical polarity from negative to positive; the man’s relations with the earth-magnet would then have become repellent, and ‘gravity’ for him would have ceased to exist. It would then be as natural for him to rush into the air until the repellent force had exhausted itself, as, before, it had been for him to remain upon the ground. The altitude of his levitation would be measured by his ability, greater or less, to charge his body with positive electricity. This control over the physical forces once obtained, alteration of his levity or gravity would be as easy as breathing.9
Until gravitation is understood to be simply magnetic attraction and repulsion, and the part played by magnetism itself in the endless correlations of forces in the ether of space . . . it is neither fair nor wise to deny the levitation of either fakir or table. Bodies oppositely electrified attract each other; similarly electrified, repulse each other. Admit, therefore, that any body having weight, whether man or inanimate object, can by any cause whatever, external or internal, be given the same polarity as the spot on which it stands, and what is to prevent its rising?10
Levitation of the body in apparent defiance of gravitation is a thing to be done with ease when the process is completely mastered. It contravenes no law. Gravitation is only half of a law. The Oriental sage admits gravity, if one wishes to adopt the term; but the real term is attraction, the other half of the law being expressed by the word repulsion, and both being governed by the great laws of electrical force. Weight and stability depend on polarity, and when the polarity of an object is altered in respect to the earth immediately underneath it, then the object may rise. . . . The human body . . . will rise in the air unsupported, like a bird, when its polarity is thus changed.11
Blavatsky says that the flight of birds and swimming of fishes, including the rapid sinking of whales, involve changes in polarity and gravity not yet admitted by science. Animals can do this instinctively, while humans can learn to do so by will.12
Theosophy asserts that during the life-period of a planet or star, gravitational forces do not remain constant. The first half of a planet’s life (the ‘descending arc’) is said to be characterized by the condensation of matter from a primordial, ethereal state, implying a strengthening of attractive and cohesive forces. It is followed by the reverse process of etherealization and spiritualization (the ‘ascending arc’), when attractive and cohesive forces weaken and matter becomes increasingly radioactive.13
References
H.P. Blavatsky, The Secret Doctrine, Pasadena, CA: Theosophical University Press (TUP), 1977 (1888), 1:508.
Ibid., 1:143fn.
H.P. Blavatsky, Isis Unveiled, TUP, 1972 (1877), 1:271.
William Q. Judge, Echoes of the Orient, San Diego, CA: Point Loma Publications, 1975, 1:336.
H.P. Blavatsky Collected Writings, Wheaton, IL: Theosophical Publishing House, 1950-91, 5:152-153.
G. de Purucker, The Esoteric Tradition, TUP, 2nd ed., 1940, p. 441.
Ibid., pp. 860-861.
Ibid., p. 861fn.
Isis Unveiled, 1:xxiii-iv, 497-498.
Blavatsky Collected Writings, 1:244.
W.Q. Judge, The Ocean of Theosophy, TUP, 1973 (1893), p. 154.
Blavatsky Collected Writings, 4:167-169.
The Secret Doctrine, 1:159, 2:68fn, 250, 308fn; The Esoteric Tradition, pp. 324-327, 453-454, 760; G. de Purucker, Studies in Occult Philosophy, TUP, 1945, pp. 450-451; A.T. Barker (comp.), The Mahatma Letters to A.P. Sinnett, TUP, 2nd ed., 1926, pp. 98-99. davidpratt.info/gravity2.htm
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Post by blacky on Feb 5, 2010 1:27:47 GMT 10
hahahaha just a little to add there brills pmsl!
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Post by blacky on Feb 5, 2010 2:11:00 GMT 10
nice brills!
the first part states that the videos hat the doctor made would be released in 1990?
have they been released do you know?
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Post by blacky on Feb 5, 2010 2:40:02 GMT 10
wow brills that was a cool read thanks!!!
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Post by brillbilly on Feb 5, 2010 3:01:59 GMT 10
thanks blacky,iv not found or looked for vid yet but i will
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Post by blacky on Feb 5, 2010 4:59:27 GMT 10
yeah man them vids would be a very good watch!
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Post by brillbilly on Oct 17, 2010 0:40:18 GMT 10
Acoustic Resonances in Pre-historic Sites Bruno Fazenda Introduction Evidence of acoustic resonant behaviour has been found in many sites of archaeological importance. Acoustic resonances are important phenomena in pre-historic spaces because they have a very noticeable effect on sound. A ubiquitous example of resonance is the sound one hears when blowing across a bottle top. The turbulent flow of air across the top excites the resonant behaviour of the bottle and its resonant frequency is heard in the form of a steady pitch. This pitch is related to the volume (or size) of the bottle and to some extent to the length of the neck. Most acoustic instruments rely on this phenomenon to generate sound that is ‘in tune’. An enclosed space, such as a room, could be thought of as an instrument that adds character to the sound generated within. Its resonant behaviour is directly related to the size of the space. Anyone who has tried singing in the shower (a room of small dimensions) will be aware that some frequencies sound louder than others and that this ‘invites’ one to vocally interact with the space. The reason why the ‘singing in the shower’ effect is so well-known is because the resonances associated with a small, often tiled, enclosed space are ‘perfect’ in exhibiting clear resonant frequencies well within the frequency range of our voice. An understanding of the built environment of our ancestors provides glimpses of their history, politics, science, technology, art, music and religious beliefs. Many pre-historic sites are built out of stone which is a highly reflective surface and thus reinforces any potential resonances. Even a simple frame shaped construction such as a dolmen has the potential of exhibiting a noticeable resonance if one sings within it. The original dolmens, in the form of tombs, would have been fully enclosed, except for the access passage, and thus exhibit strong resonant behaviour that could not have gone unnoticed. The fact that many pre-historic sites have a resonant effect cannot be considered as definite evidence to acoustic intentionality in their design. However, since the effect, when present, would have been noticed by people using the space, it may be argued that this could have led to an adaptation of subsequent activities and even influence the design of posterior spaces. Smaller, enclosed spaces exhibited this effect. Could the Neolithic man have tried to recreate it outdoor in larger, semi-enclosed spaces such as stone circles? We know that the classical Greeks and Romans were excellent architects and acousticians, but could this acoustic use of the built environment have been noticed much earlier than that? Some of the best remaining evidence of pre-historic technology or thought is what remains of what our ancestors have built. The study of the acoustic behaviour of a site therefore stands alongside other more common archaeological disciplines as a useful method in helping us understand our past. An acoustic study of a given site typically tries to identify if any noteworthy acoustic effects are present, and how human activity (speech,chanting) would have interacted with this to achieve a desired effect. Loudness Variations in the Space In general, acoustic resonances in spaces such as chambers or caves occur when sound waves propagate between two opposing surfaces. As the waves are reflected, they combine with other sound waves travelling in the opposite direction. At specific frequencies, related to the distance between the opposing surfaces, the sound waves combine in such a way that a stationary, or standing wave, is created – these are commonly called the ‘modes of the space’ or simply ‘modes’. An example of one such mode is depicted in Figure 1, under the title Pressure Distribution, for a circular stone structure. This is a modelled response for the distribution of pressure (which is related to the loudness of sound) for a specific mode of the outer sarsen circle in Stonehenge, UK. The modal, or resonant, frequency is around 49Hz. Figure 1 The standing wave in this case has a circular shape and it is possible to find dips and peaks in pressure across the space. If such a mode is excited (see section below), then someone walking within the space would notice the sound becoming quieter as they approach one of the dips (blue areas) and becoming louder as they approach one of the peaks (red areas). Similarly, someone standing in one of the red areas (high pressure), even if far away from the source of sound, would hear a loud and resonant sound. Because resonances in spaces are usually at such low frequencies, they are associated with very largewavelengths (this is the physical size of the sound wave). A resonance at 50Hz is associated with a wavelength of almost 7 metres in length! This can be seen in Figure 1, under Pressure Distribution Along Axis, where the distance between two consecutive dips is about 7 metres. Due to this large wavelength, the existence of other objects, such as stones, a small number of people or even irregularities in the reflective surfaces, does not affect the resonance significantly. One simple way of finding evidence that a space has resonant features is by exciting the space at a known resonant frequency and simply mapping the rise and drop in level across the space using a sound level meter. An example is shown in Figure 2, where a comparison between the modelled Pressure variation along an axis of Stonehenge and the measured peaks and dips of sound level in the space are shown. They match almost exactly! Of course, defining a model that predicts the modal frequencies accurately involves mathematical formulations or other numerical solutions and this is not trivial. Figure 2  Exciting and Hearing the Resonant Modes Enclosed or semi-enclosed spaces will have many resonant modes. At the lower frequencies however, say below 100Hz, the modes are well separated. By chanting a steady note or perhaps by playing a drone on a horn like instrument at a pitch close to the modal frequency, the mode will be excited and therefore that frequency will be heard louder. The position of excitation, or where the instrument is, in relation to the pressure distribution is also extremely important. It should be logical that if the instrument is at a large pressure point (red zones) in Figure 1, then the mode will be excited strongly. The nature of the standing wave means that excitation is invariably stronger near the walls where large pressure always exists (see Figure 1). Another ‘advantage’ of this position is that all modes have large pressure at the walls which means that standing there provides a better chance of exciting many modes at the same time thus getting a more noticeable effect. Perhaps less intuitive is the fact that if the instrument is at a lower pressure point (blue zones in Figure 1) the mode will not be excited. The sound of the instrument will still be heard but not as loud and the variation of level as you walk across the space will disappear. An analogy to the spatial excitation of the modes may be taken from the example of a drum skin. If one strikes the skin at different points across its surface, a different character of the sound, or timbre, is heard. This is due to the fact that different modes are being excited. Striking the drum nearer to the edge gives it a ‘brighter’ sound because many resonant modes are being excited at the same time. Striking the skin near the centre gives a ‘duller’ sound as some modes are omitted because they are not associated with drum-skin displacement at that point. Another aspect of modes is that, once excited, they tend to linger in the space for a short but noticeable period of time even after the sound of the instrument has stopped. This very noticeable effect is usually called the modal decay time and can be likened to a low frequency reverberation. Human Interaction with the Space So, how would an analysis of acoustic resonant behaviour of a space provide an archaeological insight into uses, social structure and behaviour of people using it? As seen before, the frequency of resonant modes is dependent on the size of the enclosure. In tombs or other small enclosed stone spaces, it would be possible to excite resonances merely by singing at a low pitch. In such cases, male voices would perhaps be more efficient than female ones given the extension of the lower frequency range, which would perhaps have implications in notions of power and leadership. Some archaeological studies have revealed particular carvings on stones, some resembling illustrations which are still used today to represent sound waves (circles, wavy lines, spirals). Could these carvings on specific locations in a space indicate spots where a particular resonance or echo would have a stronger effect? In larger spaces and semi-enclosed spaces, such as Stonehenge, excitation of the resonant modes would require large, efficient low frequency sound generators. One example of such would be drums. However, in pre-historic sites of the era (3000 to 1000 B.C.) there is no evidence that present technology would have allowed the design of such drums. Other possibilities are the use of hollow tree trunks or animal horns played in a fashion similar to modern brass instruments. A large number of people chanting a low frequency drone would have the potential of exciting a noticeable resonance in a moderately large space. The easier excitation of modes at the edges of the space could suggest that people would have gathered along the boundaries. A particularly prominent response associated with a physical feature of the space, say what looks like an altar stone, would suggest that perhaps a chief/leader figure would stand there. This has clear implications of social stratification. It would also open the discussion of religious or other social interactions during those times. In both cases, it could mean that large numbers of people may have gathered at such sites. The resonant behaviour of a space would be associated with a series of frequencies that would be louder than others. It seems reasonable to assume that someone speaking, chanting or playing in such a space would do so in ‘tune’ to these resonant frequencies, which could imply the use of specific musical scales or modal tonalities. Indeed, the resonant behaviour of a space would be highly dependent on external factors such as temperature and other atmospheric effects such as wind. Fully enclosed spaces would be less affected that semi-enclosed ones. Could this provide answers to the type of activities taking place and during which seasons of the year each site was used? Very clearly, these questions may only be answered by close collaboration between acousticians, archaeologists, historians and musicologists to name a few. Whatever methodology is pursued, it will have to be permeated by rigorous scientific study in a truly multidisciplinary project. soundsofstonehenge.wordpress.com/resonances/ |
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Happy New Years Everybody!!!
